Rox: K’Jon Talks about his new album & showing the Glass City love!

Detroit’s R&B artist K’Jon is back with his third album, Man. Previous albums rightfully showcased artists from his home town, but this time he has extended the love to his musical neighbors here in Toledo. K’Jon had been in the music industry for years before officially deciding to change his hobby into a career. He hit national status in 2009 with his #1 R&B single, “On The Ocean” from his #1 album, I Get Around. Constant networking and pure talent helped push his single, “On The Ocean” until it gained national attention and became a success. His sexy style and easy reassuring vocals embodies the definition of smooth with the ability to appeal to ballroom/steppers and R&B audiences. He has switched it up (for now) label-wise, but his music quality remains unchanged. I was able to catch up with K’Jon to talk about his independent release, Man networking and his Glass City collaborations.

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Martini Rox: You were signed to Universal and now you are independent what are the pros and cons?

K’Jon: I love being independent first of all, because no one is going to work harder than you and no one is going to be a greater mouthpiece than you. Independently, you definitely have to have the budgeting and your capitol in place to really make an impact. That’s the difference with the independent game. As far as the majors, with a major the transition for me [is] the difference of running a company from day to day and actually being involved with me and my team [with] the day to day operations. When you sign with a major they want you to sit back and relax, but they want you to give 200%, I don’t really understand that. That’s when the politics and personality can assist or [be a] hindrance. When you’re independent you are so used to making the calls. The majors don’t want you to cross lines. The thing is, if a major goes all out for you then that’s cool, but if that’s not the case then that will result in to you [going] back on the phone doing what you do. It’s that catch twenty-two, that grey area.

Martini Rox: What inspired you to work with artists from Toledo?

K’Jon: I expanded my work relationships when I got into the industry. It didn’t take long for me to really spread my wings so-to-speak when I first decided to go full time into music. I was recruited heavily when I put it out there [I] ended up in New York hanging out with Ludacris, DTP & Def Jam and I was on the go. Cameos and working with different industry guys, I’m accustomed to that. Working with J360 & Sikosa, they’re not on the, Man album, but we’re working their single. Working out of the same studio in Detroit, I heard his song and it sounded like it would be good for me and vice versa so, I went and took a stab at it and I think it’s a great song.

Martini Rox: The song titled, ‘This Time For Real’ features Lyfe Jennings, how did that come about?

K’Jon: I’m a big fan of Lyfe then we became friends. I met Lyfe a few years ago when I was having my success with, “On The Ocean” back in ’09, 2010 and [I] got a chance to open up for him and be on some of the same shows as Lyfe. He and I had already discussed doing some collaborative work together before he took some time out. We’re finishing some things that we spoke on earlier in my career. I was very happy and fortunate he came through and showed me a lot of love on the record and I think the song is huge.

Yelawolf, Feist among highlights of Bonnaroo’s first days

The Bonnaroo Music & Arts Festival built its reputation as a jam band festival, but a rap-heavy opening day on June 7 continued its gradual expansion into other genres.

Danny Brown kicked off the rap for the day at 7 p.m. with inventive (and inappropriate) lyrics such as relating the creatures in “Avatar” to a specific aspect of the male anatomy. Kendrick Lamar also put on a high-energy show, but it was Yelawolf, the act performing between them on This Tent, that stole the show for the day and possibly the entire festival.

Yelawolf is the fastest rapper I’ve ever heard and kept the crowd moving for the entire set. I planned to leave halfway through to check out White Denim but was still at This Tent at 9:30 p.m. with my hands in the air.

Yelawolf is working on his next album after signing with Shady Records, which is fitting since he’s sure to be the biggest white rapper since Eminem. The show only featured one track off the new album, but it was full of original material thanks to tributes and covers. The Doors, Johnny Cash, Metallica and Outkast were all recognized with Yelawolf rapping over “Riders on the Storm,” “Folsom County Blues,” “Master of Puppets” and “Bombs Over Baghdad,” respectively. He followed with a moment of silence and a medley of nearly every Beasties Boys hit in memory of Adam Yauch. It was the best rap set at Bonnaroo since Jay Z performed in 2010.

Mark Foster of Foster the People, photo by Jason Mack

I stuck to This Tent to close out the night with Alabama Shakes. The big-voiced southern rock of Alabama Shakes was a stark contrast to the three-straight rap shows, but it was the perfect way to end the day. Brittany Howard has one of the most unique voices around today, almost like Tracy Chapman with the power of Aretha Franklin.

Ludacris kept the rap going on Friday, but day two of the festival was dominated by international acts. Rodrigo y Gabriela was already the most instrumentally gifted act ever to grace the stage at Bonnaroo, but it managed to take it up a notch with the addition of the backing band C.U.B.A. The rapid solos from Rodrigo and insane rhythmic techniques on guitar from Gabriela were always more than impressive. However, adding trumpet, drum, piano and bongo solos to the mix took the show to another level.

Foster the People has grown exponentially in showmanship since becoming a radio sensation with the hit “Pumped Up Kicks.” At Lollapalooza last year, the band performed a straightforward set, playing through their set list in T-shirts and jeans. It was good, but nothing compared to their headlining set on Which Stage on Friday night. Mark Foster rocked an all-white suit and showcased dance moves somewhere between Michael Jackson and Mick Jagger as he shuffled across the stage. The British rockers added plenty of stage presence with a giant inflatable character rocking back and forth while at different times paper planes and confetti were launched into the audience.

Feist, photo by Jason Mack

Feist represented our neighbors up north as the lead-in to Foster the People. After asking if anyone out there was from Canada, she received an overwhelming response and declared, “We have invaded.” If her set is what a Canadian invasion would bring, then I’m all for it. The harmonizing with Mountain Man, her trio of backing vocalists, was spot-on the entire show. Despite knowing most of her tracks by heart, the set was an entirely original experience. She puts a twist on all of her classics, like performing her hit “Mushaboom” with a slower, more industrial feel. I was also amused that she performed my obscure favorite “So Sorry” while ignoring the crowd favorite “1,2,3,4” from the Apple commercial.

Radiohead seemed to be enjoying themselves while playing more than 30 minutes over their two-hour set time. The band touched on everything from 1985 to today including “Idioteque” and “Paranoid Android.” Radiohead even performed several songs off “King of Limbs” with Portishead’s Clive Deamer drumming with Phil Selway. Mix in a crazy light display behind the band, and the set was about all fans could ask for in a late-night show at Bonnaroo.

Not to be outdone, Umphrey’s McGee kept the crowd up with a double set starting at 2 a.m. in their seventh appearance at Bonnaroo.

The first half of the festival was full of energy and diversity, but there is still plenty to look forward to with Red Hot Chili Peppers and The Beach Boys yet to perform.

Martini: Hip-Hop gift guide

Black Friday has come and gone but you are still not sure what to get for someone who has it all. Here are a few suggestions for everyone in your house who loves Hip-Hop music — and there may be something for you, too. Listed are the products with their suggested retail prices but there is still time to find deals on everything before (and after) Christmas!

Fisher-Price Fun-2-Learn Learning DJ — $39.99

What can I say? I love the kids and this is right up the tiny Hip-Hop heads’ alley! Fisher Price brings it with a learning DJ that teaches as it entertains. This gift would be entertaining for 1-to-3-year-olds beginning to learn their letters, numbers and shapes. Added bonus is the microphone, and, of course, the DJ plays fun tunes your tyke will enjoy dancing to.

Ticket Stub Diary — $14.95

The Glass City has been known to surprise us with great concerts; what are you going to do with all those tickets stubs? From Detroit to Cleveland, the ticket collection of a concert lover is something they cherish and want to remember. Pick up one for yourself!

“One Day It’ll All Make Sense” — Common — $25

The book about Common’s life growing up on the South Side of Chicago, “One Day” shares his tragedies and triumphs. His career as one of the only “conscious” rappers with substantial lyrical content about the streets and family has lasted 20 years. Already a best-seller, rapper/actor Common has the Hip-Hop read of the year! SOUL by Ludacris: High-Definition On-Ear Headphones — $249.99

Ludacris throws his hat in the “rappers with headphones ring and eliminates complaints you may have had about other — ahem — artists’ headphones for sale. Ludacris, a former DJ himself, has put quite a bit of thought into these headphones, with attention to qualities like superior bass and sound balance. He forgoes noise canceling for noise dampening, meaning, when turned up fairly loud, you can faintly hear music outside of the headphones. They also come with two tangle-free cords, one for at home and another with MP3 controls. The set folds up nicely into a case and has a slick look with an ultra-comfy feel.

Some things should be self-explanatory — such as the purchase of this DVD. This is the story of a true Hip-Hop group that heightened the consciousness of its fans, daring them to listen and learn. Heavily influenced by jazz, blues and soul, its music combined with poetic lyrics dominated the entire ’90s golden era of Hip-Hop. The members’ chemistry was undeniable, but it was A Tribe Called Quest’s fan base that was solid enough to make them instant living legends.

iHome iP4 — $199.99

A boom box for your iPhone or iPod and a mainstay in your teen’s room, the concept is not new but it is simple. Just stick your “iProduct” in the front and turn the music up. It includes FM radio and updates for your iPod/iPhone. It has the Old-School look, also comes in hot pink, includes a power cord and like your old boom box it takes six size-D batteries.